Particular version modified by the previous owner. The changes consist of a rise to a more correct height for listening, in total rewiring by replacing the thin single solid cores really small with Supra cable, the replacement of the medium-high group flanges with marine plywood instead of the thin original masonite, the removal of the grids and some aesthetic subtleties are the lacquering of the cabinets and the plexiglass plate that protects but leaves a view of the components of the crossover. For the rest, the DQ10s are completely original.
The only flaw is not having provided a wider base in the upper part of the pedestal but it can be easily remedied.
We are in the presence of one of the most "musical" and realistic speakers in the history of high fidelity.Designed by John Dahlquist and Saul Marantz with no hidden intent to counter the myth of the Quad ESL57.
The idea was to create a loudspeaker with the naturalness and absence of distortion of the historical English electrostatics, but exceeding the limits of dynamics and extension at the extremes of the band.
Blending a complex crossover with a series of different loudspeakers brands divided in five ranges mounted in a totally unconventional way for the time, as a fixed point the phase alignment being issued.
Universally praised by all the critics of the time, it proves incredibly current even over 40 years after its first release.This system sounds wonderful, bewitching and raises serious doubts about how many true progress it was in the specific sector in half a century.
If your listening room space is right, and adequate amplification (they are actually quite low efficiency, 82 dB with a watt and a meter) will be rewarded by an absolute level performance
The electrical conditions are impeccable, the WOOFERS HAVE BEEN REFOAMED, the aesthetic ones excellent
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